Whenever I am tired of making photographs of drawings, I make drawings of photographs.

The great challenge is how to make smart, intelligent art that can speak to everybody.

I'm a student of media and I've always been one. I'm fascinated by the way we make the world around us based on pictures and how can we improve our perception of this picture world.

Only in the 20th century, artists started taking the study of perception in a more humane way. They were thinking about the eye as being an instrument, the whole body as being a visual instrument. That sort of gave way a little bit with Cartesian­ - the "Cogito ergo sum" argument. It's not, "I think therefore I exist." It's, "I feel therefore I think therefore I exist."

When you organize your work and look back at your entire production, it may feel like you're looking at a straight line, but in fact it's nothing like that. The work is very experimental and most of the time it develops like branches. I usually see a capillary, like a tree shape where there are... branches that sort of move because you're not tending to them.

I think pure light has something to do with actually seeing everything at once. It's kind of a nirvana of sorts.

I think there's a gradient that goes from science to art and magic is the middle ground. I think that we're all trying to understand and define the world around us but often it's experimental.